If I was a poet, I had become one because poetry, more intensely than any other practice, could not evade its anachronism and marginality and so constituted a kind of acknowledgment of my own preposterousness, admitting my bad faith in good faith, so to speak.
BEN LERNERI didn’t want to write another book about fraudulence.
More Ben Lerner Quotes
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When the narrator feels like an octopus, when he says his limbs are starting to multiply, he means he has inklings of orders of perception beyond his individual body.
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Just in case God isn’t dead, our astronauts carry sidearms.
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Maggie Nelson cuts through our culture’s prefabricated structures of thought and feeling with an intelligence whose ferocity is ultimately in the service of love. No piety is safe, no orthodoxy, no easy irony. The scare quotes burn off like fog.
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I guess when I’m frightened or in pain or maybe very bored I’ve tried to hold myself together by imposing a narrative order on the experience as it happens.
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I like to think – knowing that it’s an enabling fiction – of those moments as fragments from a world to come, a world where price isn’t the only measure of value.
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I came to realize that far more important to me than any plot or conventional sense was the sheer directionality I felt while reading prose, the texture of time as it passed, life’s white machine.
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Maybe that’s the way I’m private – I respect the privacy of “my” characters? Anyway, we’re getting close to the whole “relatability” and “likability” thing.
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Every relationship can feel saturated by market logic or at best purchased at the price of the immiseration of others.
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Shaving is a way to start the workday by ritually not cutting your throat when you’ve the chance.
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Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.
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I remember I had this recurring dream that we were playing a night game and instead of eye black we had mashed up the glowing bodies of fireflies and put that under our eyes. So our faces were glowing – a kind of night vision.
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I’m defending fiction as a human capacity more than as a popular or dying literary genre.
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The story and the poem are obviously changed by being placed in the novel, so in a sense they’re no longer the works that preceded the novel.
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Maybe now if you’re not an exhibitionist you’re private. Or maybe it’s just that for a lot of people – sometimes in interesting ways, sometimes in stupid ways – there’s no division between the art object and what surrounds it.
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I think the parable is a peculiar way of saying that redemption is immanent whether or not it’s imminent, that the world to come is in a sense always already here, if still unavailable. I find this idea powerful for several reasons. For one thing, it’s an antidote to despair.
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